- Joined
- Feb 8, 1999
- Messages
- 18,409
- Real Name
- Robert Harris
Digital projection is the greatest thing to hit cinema since 1894.
Digital projection is the worst thing to hit cinema since 1894.
I remember in 1992, unsatisfied with a presentation of Ron Howard's Far and Away in 70mm, my friend Roy Frumkes set upon the task of visiting every theatre within a couple of hundred miles to try and find those that still possessed the technical ability and desire to properly present, not only 70mm, but film.
70mm had something really going for it in terms of high quality. When it came to projection, the size of that hole through which the image is projected comes to the fore. An immense amount of light is available. Far more than enough to reach that 14 - 16 fl standard.
But what he was seeing, along with everyone else was closer to 8.
A dim image affects sharpness, contrast and everything else that makes up a motion picture, including acting.
When there used to be problems with projection in the analogue world, they generally involved poor illumination, focus, framing, bob & weave... all followed by the condition of the print.
With digital projection, society seems to have returned to the wild west.
The best of analogue projectors, the Norelco AAII and their brethren have given way to Christie, Sony et al, and just like a Norelco, that brand spanking new Sony 4k machine, the consummate piece of electronic and digital art, is just another piece of junk unless it's properly set up, attended to, run and maintained by an entity and people who care.
Care not only about projection, but about...
THE SHOW!
I've been reading about problematic digital shows for the past year. Ben-Hur didn't do too well. I've heard of problems with The Godfather from people I trust. West Side Story.
And now Casablanca.
What is so difficult about running a classic black & white film from a DCP?
Apparently, quite a bit.
First you've got to hope you're not projecting on a silver screen. If you are, you'll have hot spots.
Have 3D adapters been removed for 2D shows?
You've got to deal with understanding what precisely is on that hard drive, what you do with it, and how you get it on screen.
And it doesn't matter what new-fangled junk has made its way to you from Sony's factory in Japan, if that piece of junk just gets put on a platform and pointed in the general direction of the screen.
I'm not picking on Sony here. All digital equipment is junk if it's just taken out of the box and just turned on. All of it.
With Lawrence of Arabia about to be screened in Cannes, I have no idea what the result will be. It is entirely possible that people will leave thinking that Freddie Young was some hack that didn't know which side of a camera held a lens. And if that happens you've got to blame everyone involved.
From the projector designers and manufacturers, down to the techs and management.
I'm presuming that a screening at The Cannes Film Festival will be a cut above, but there are no assurances, especially with digital.
Let's return to the problem of projecting a 4k DCP through a new Sony 4k projector.
Once properly set up, it shouldn't be a horrifically difficult situation, but it turns out it is.
I received a call last evening from a friend who knows projection, color, densities -- everything about the what and how of putting on a show.
He had gone to see Casablanca with some friends at the Island 16: Cinema De Lux in Holtsville, NY. That's out on the Island. The theater is part of the National Amusements chain.
I don't know if all readers are familiar with Casablanca, but it's a film from 1942, shot in black & white. It recently went through a 4k restoration. The data files, and the resultant Blu-ray disc are beautiful.
At the De Lux, the image was not black & white. From what I'm told it was magenta on one side of the screen and green on the other. And apparently nothing could be done about it.
The question is, who is to be blamed?
Sony, for producing a projector that can't cope with black & white?
Doubtful.
Management, for not caring?
Projectionists, for possibly not knowing what they were doing?
I guess the question needs to be asked. Are there projectionists?
Or is the junk turned on by a high school-age girl who makes change for Goobers, and then runs to the booth to start the show?
I don't have answers.
But this is just one more unfortunate episode in the replacement of analogue projection equipment with digital.
What should be simple and reasonably fool-proof, is not.
Now here's the rub.
I've seen brilliant digital projection. Sony, Christie... both yielding magnificent images, that can, based upon the data transferred to the DCP, look exceedingly film-like.
Magnificent. Perfect.
The question is how, in the wild, do we get to a point where it's a safe bet to go to a movie theater and see something that was made on film, should look like film, and have a quality performance?
Or for that matter, something shot as data.
Movie-going is an expensive experience. Fuel to get you to the theater, potentially a sitter, tickets, concessions...
Problems occur. But the roll-out of digital projection to the wilds, seems to have been rife with them. All of the bugs should be worked out before a paying audience comes through the doors.
If theaters are to flourish, paying audience need to be treated with far more respect than they seem to be currently receiving, especially from organizations that seem to play upon the words, "restoration," "classic," and the concept of the Event performance.
All of this makes the wonderful little Blu-ray disc and home theater seem to be the winner.
BTW, Casablanca was a TCM Event. If TCM is unable to get a handle on quality, possibly there should be no more.
RAH
Digital projection is the worst thing to hit cinema since 1894.
I remember in 1992, unsatisfied with a presentation of Ron Howard's Far and Away in 70mm, my friend Roy Frumkes set upon the task of visiting every theatre within a couple of hundred miles to try and find those that still possessed the technical ability and desire to properly present, not only 70mm, but film.
70mm had something really going for it in terms of high quality. When it came to projection, the size of that hole through which the image is projected comes to the fore. An immense amount of light is available. Far more than enough to reach that 14 - 16 fl standard.
But what he was seeing, along with everyone else was closer to 8.
A dim image affects sharpness, contrast and everything else that makes up a motion picture, including acting.
When there used to be problems with projection in the analogue world, they generally involved poor illumination, focus, framing, bob & weave... all followed by the condition of the print.
With digital projection, society seems to have returned to the wild west.
The best of analogue projectors, the Norelco AAII and their brethren have given way to Christie, Sony et al, and just like a Norelco, that brand spanking new Sony 4k machine, the consummate piece of electronic and digital art, is just another piece of junk unless it's properly set up, attended to, run and maintained by an entity and people who care.
Care not only about projection, but about...
THE SHOW!
I've been reading about problematic digital shows for the past year. Ben-Hur didn't do too well. I've heard of problems with The Godfather from people I trust. West Side Story.
And now Casablanca.
What is so difficult about running a classic black & white film from a DCP?
Apparently, quite a bit.
First you've got to hope you're not projecting on a silver screen. If you are, you'll have hot spots.
Have 3D adapters been removed for 2D shows?
You've got to deal with understanding what precisely is on that hard drive, what you do with it, and how you get it on screen.
And it doesn't matter what new-fangled junk has made its way to you from Sony's factory in Japan, if that piece of junk just gets put on a platform and pointed in the general direction of the screen.
I'm not picking on Sony here. All digital equipment is junk if it's just taken out of the box and just turned on. All of it.
With Lawrence of Arabia about to be screened in Cannes, I have no idea what the result will be. It is entirely possible that people will leave thinking that Freddie Young was some hack that didn't know which side of a camera held a lens. And if that happens you've got to blame everyone involved.
From the projector designers and manufacturers, down to the techs and management.
I'm presuming that a screening at The Cannes Film Festival will be a cut above, but there are no assurances, especially with digital.
Let's return to the problem of projecting a 4k DCP through a new Sony 4k projector.
Once properly set up, it shouldn't be a horrifically difficult situation, but it turns out it is.
I received a call last evening from a friend who knows projection, color, densities -- everything about the what and how of putting on a show.
He had gone to see Casablanca with some friends at the Island 16: Cinema De Lux in Holtsville, NY. That's out on the Island. The theater is part of the National Amusements chain.
I don't know if all readers are familiar with Casablanca, but it's a film from 1942, shot in black & white. It recently went through a 4k restoration. The data files, and the resultant Blu-ray disc are beautiful.
At the De Lux, the image was not black & white. From what I'm told it was magenta on one side of the screen and green on the other. And apparently nothing could be done about it.
The question is, who is to be blamed?
Sony, for producing a projector that can't cope with black & white?
Doubtful.
Management, for not caring?
Projectionists, for possibly not knowing what they were doing?
I guess the question needs to be asked. Are there projectionists?
Or is the junk turned on by a high school-age girl who makes change for Goobers, and then runs to the booth to start the show?
I don't have answers.
But this is just one more unfortunate episode in the replacement of analogue projection equipment with digital.
What should be simple and reasonably fool-proof, is not.
Now here's the rub.
I've seen brilliant digital projection. Sony, Christie... both yielding magnificent images, that can, based upon the data transferred to the DCP, look exceedingly film-like.
Magnificent. Perfect.
The question is how, in the wild, do we get to a point where it's a safe bet to go to a movie theater and see something that was made on film, should look like film, and have a quality performance?
Or for that matter, something shot as data.
Movie-going is an expensive experience. Fuel to get you to the theater, potentially a sitter, tickets, concessions...
Problems occur. But the roll-out of digital projection to the wilds, seems to have been rife with them. All of the bugs should be worked out before a paying audience comes through the doors.
If theaters are to flourish, paying audience need to be treated with far more respect than they seem to be currently receiving, especially from organizations that seem to play upon the words, "restoration," "classic," and the concept of the Event performance.
All of this makes the wonderful little Blu-ray disc and home theater seem to be the winner.
BTW, Casablanca was a TCM Event. If TCM is unable to get a handle on quality, possibly there should be no more.
RAH